Modernity and Modernism Richard Miles, 2011
1. ‘Modern’
as a term is important to explore for the reason that it has become ingrained
in the cultural consciousness, popularised and institutionalised (take for
example the popular awareness this country has for such an institution as Tate Modern). The word ‘modern’ has
received usage in English from the 16th C. By the mid 19th
C. the term meant ‘contemporary’, thus, between 1843-1860, John Ruskin in his
volume of writings ‘Modern Painters’,
was really using the term to refer to painters of the day, such as
Pre~Raphaelites, who we today would not consider to be ‘modern artists’.
However, by the end of the 19th C. and into the early 20th
C., the term ‘modern’ began to take on a flavour of something ‘improved’,
‘better than before’. This 20th C. meaning of ‘modern’ as something
‘improved’ is inextricably linked to a modern
consumer culture in which products are sold on the basis of a ‘new is
better’ philosophy: take for example washing powder and the way its
manufacturers rattle on in their adverts; “new improved”, “whiter than ever
before”. Thus we can conclude that the term ‘modern’ implies positive meanings,
so much so, that even politicians – Tony Blair for example – will talk about “a
‘modernised’ Labour Party” and “a ‘modern’ Britain”.
2. Modernity.
The idea of ‘modern’ then, is linked to the idea of progress. The idea of progress is
central to our understanding of ‘modernity’
and the significant changes that took place broadly between 1750-1950. This
process of modernisation did not, obviously, happen overnight, although we can
fix it historically as being aligned to the processes of industrialisation and urbanisation.
Central features of ‘modernity’ are: The
City – the city has become the site for ‘modern’ experience and developed
as a magnet for those in the country during the period of industrialisation. Communication – with the advent of
rapid transport systems, rail and road (the rail network had become fully
established by 1840), steamships and the telegraph, communications flourished,
changing the character of society (people’s mobility – but also the mobility of
the printed image). Effective communications are necessary to promote the idea
of change. Progress – implicit in
the notion of modernity is the idea that change is for the better. The goal of
modernity has been to create a better life for people. There is therefore a
utopian ideal inherent within the idea of modernity. Rationality & Reason – aligned to the ideas of progress are the
ideas that the only way to improve humanity is to reject religious systems of
rule and replace them with the notion of the civilised state. Scientific
progress and intellectual investigation (Enlightenment concepts), are taken as
being a far better route to further our existence than religion. We therefore
see in the period in question a secularisation of our society; fewer people go
to Church or follow religion, and societies are today ruled by governments,
with the Church playing much more of a minor role.
3. Modernism
is the term used to describe the cultural expressions of modernity in
relation to the experience of modernity. Theoretical
features identified with modernism in art & design include: SOCIAL MORALITY- In essence, there was
a ‘utopian’ flavour to the modernist ‘project’. TRUTH - In design, it was
agreed that designs should not be illusionary or create false impressions. TECHNOLOGY - Modernists embraced new
technologies. Also, design initiative had to allow for the mass production of
goods – thus, simple forms were preferred over complex ones. FUNCTION
- The idea that design was functional was of prime importance. And, a key
idea within modernist design was that the form of an object should be dictated
by its function; “Form Follows Function”. The shift away from ornate decoration
was politically inspired – fancy decoration and ornamentation was equated with
the bourgeoisie and decadent frippery. PROGRESS
- Implicit in the notion of modernity and modernism is the idea of change
for the better. The goal of modernity and modernism has been to create a better
life for people. The modernist project therefore sought to embrace the tools of
technology. In the aftermath of World War 1 (The Great War 1914-1918), it was
felt that such a tragedy and waste of life could not happen again. The feeling
therefore in the 1920’s was one of optimism and that modernism would direct the
way towards a progressive society. ANTI-HISTORICISM
- Previous styles tended to draw from older historical styles; e.g.,
Victorian gothic and classical styles. The modernists attempted to eschew
historical references altogether. INTERNATIONALISM
- For the modernist, it was an appealing idea that a design/artwork would
be instantly recognisable to an international audience. Part of this internationalist
tendency derived from the post WW1 attitude towards the need to bring countries
together. TRANSFORMATION OF
CONSCIOUSNESS - There was a belief held amongst modernists that design and
art could change the way people think. Underlying the Town Planning Movement
and mass housing projects was the idea that such projects would improve the
people who made use of them. THEOLOGY - Modernism
was adopted almost as a religion. It constituted a set of beliefs which sat
within a context where people felt they were living in a ‘new age’. The term
‘Zeitgeist’ refers to this feeling of “the Spirit of the Age”.
Bibliography
Meecham,
P. & Sheldon, J. (2000) Modern
Art : A Critical Introduction london
routledge
dawtrey,
l. (1996) investigating modern art london open university
frascina,
f & harris, j. (1992) art
in modern culture london, phaidon
WOODHAM, J 20TH
CENTURY DESIGN, OXFORD
Slide
List,
John
Ruskin
William
Holman Hunt The Hireling Shepherd (1852)
Paris
Exposition Universalle – 1900
Paris
Exposition Universalle – 1900 – trottoir Roullant
View
of Paris – Postcard
View
of Paris Photograph – 1900
Caillebotte
Paris A Rainy Day (1877)
Caillebotte
– Jeune Homme (1875)
Caillebotte
– A Balcony (1880)
Manet
– The Balcony (1868)
Psychology
Lab c. 1880s
Caillebotte
– Le Pont de L’Europe (1876)
Seurat
– Isle de la Grande Jatte (1886)
Degas
Absinthe Drinker (1876)
Manet
- Bar at the Folies Bergere (1881)
Kaiserpanorama
Kaiserpanorama
William
Powell-Frith The Railway Station (1862)
Monet
– Gare St. Lazare (1876-7)
Alfred
Stieglitz – In the New York Central Yards (1905)
Rodchenko
– Gathering For Demonstration (1928)
Charles
Marey – Running Man c. 1880s
Giacomo
Balla – Girl Running on a Balcony (1912)
Giacomo
Balla – Dynamism of a Dog on a Leash (1912)
Picasso
– Les Demoiselles D’Avignon (1907)
Cutlery
from the Great Exhibition 1851 –
Bauhaus
Style Cutlery
Bauhaus
teapot
Bauhaus
College of Building at Dessau
Walter
Gropius House – Dining Room / and Bauhaus Lamp
Mies
Van der Rohe- Barcelona Chair
Mies
Van der Rohe – Portrait of Mies in Chair
Marcel
Breuer – B3, Wassily Chair
Examples
of Bauhaus Book Design
Le
Corbusier - Plan Voisin
Herbert
Bayer – Bauhaus Typeface
Stanley
Morrison- Times New Roman Typeface
Fraktur
Typeface
